Landsman, artist-in-residence for UH’s Cynthia Woods Mitchell Center for the Arts, is directing Aristophanes’ classic comedy “The Frogs.” This won’t be typical Greek theater, however. Expect a journey to Hades, references to scandals old and new and a philosophical duel between dead tragedians Euripides (played by Landsman) and Aeschylus (played by UH Honors College professor John Harvey, who adapted this version of the play).

It won’t be the usual Greek comedy, but Landsman isn’t the usual theater professional. The New York-based playwright/actor/educator has collaborated with other artists on experimental site-specific productions including “Appointment” (performed in offices to audiences of one person) and “Open House” (presented in apartments and lofts).

In addition to helming “The Frogs,” Landsman is conducting research for his fall project “City Council Meeting” (presented by DiveseWorks in partnership with the Mitchell Center). The interactive performance piece takes its cues from Houston’s local government meetings and will be driven by audience participation.

Creative Pride caught up with Landsman to talk “The Frogs” and find out what to expect from this fall’s “City Council Meeting.”

'The Frogs'

Creative Pride: How are rehearsals for “The Frogs” going?

Aaron Landsman: They’re going really well. We’re going down to the wire. I told the student actors that I have a five-part method: mess, mess, mess, mess, art. We’re at about mess number four and turning the corner to art…I hope.

CP: What was your familiarity with “The Frogs” before you took on this project?

AL: Zero. I knew almost nothing about it. I knew Aristophanes’ “The Birds,” but knew very little about this play. I asked the Center for Creative Work’s John Harvey, who adapted the play, if that was okay. He said that was perfect. He wanted a director who was a contemporary audience member without a strong background in Greek theater to bring something new to it.

CP: How do you think audiences will react to “The Frogs?”

AL: John’s translation is really funny. I think it’s great because it’s contemporary and draws parallels between Athens then and now. The audience doesn’t need to understand ancient Athens to get the jokes about the Greek debt crisis, of a battle between a young upstart and an old codger.

I also think that there are layers of meaning in the play. John crafted them so well that I wasn’t aware of them when I read it the first few times. In the Greek tradition, the play asks some pretty big philosophical questions. How do you save a city? What is the value of art? Can you be truthfully dishonest?

CP: You’re also acting in “The Frogs.”

AL: I am. I am busting out a really terrible French accent. I play Euripides, the pompous young upstart. John plays Aeschylus. We have a battle royale at the end.

CP: What’s it like directing yourself?

AL: (laughing) It’s great, because I do everything right. That’s always what a director wants. Actually, I can never sit still in rehearsal when I am directing, so it’s nice to have an excuse to jump on stage for a bit.

CP: Tell me about what you’ll be doing at UH this fall.

AL: It’s a piece called “City Council Meeting” that is performed by the audience. It’s taken from the texts of actual city council meetings. It’s about empathy and learning how to take responsibility.

I’ve been collaborating with director Mallory Catlett and designer Jim Findlay on this piece, and we’ve been doing it in four cities: New York, San Francisco, Houston and Tempe, Ariz. In each city, we’ve been developing it locally and making it relevant to the issues of each city.

CP: What inspired “City Council Meeting?”

AL: I’ve been doing interactive work for a while. While I was trying to figure out my next project, I happened to sit in on a city council meeting in Portland, Ore. That was some of the best theater I’ve seen in years.

Also, I belong to a theater company called Elevator Repair Service. We tend to make shows out of things that can’t usually be done on stage. We created a show called “Gatz,” where we act out the entire text of “The Great Gatsby.” That came out of the idea that you can’t read a whole novel on stage. I thought making an entire theater piece from a local government is in line with this philosophy.

CP: Back to “The Frogs.” What should people expect from the upcoming performances?

AL: Things will happen around the people in the audience, between them or among them. They should expect exercycles, fresh fish and unexpected heartbreak and pathos.